Syncopation, Body-Movement and Pleasure in Groove Music

PLoS ONE 9(4): e94446
doi:10.1371/journal.pone.0094446
Published: April 16, 2014

Maria A. G. Witek [1], Eric F. Clarke [1], Mikkel Wallentin [2,3], Morten L. Kringelbach [2,4], Peter Vuust [2,5]

[1] Faculty of Music, University of Oxford, Oxford, United Kingdom
[2] Center of Functionally Integrative Neuroscience, Aarhus University Hospital, Aarhus, Denmark
[3] Center for Semiotics, University of Aarhus, Aarhus, Denmark
[4] Department of Psychiatry, Warneford Hospital, University of Oxford, Oxford, United Kingdom
[5] The Royal Academy of Music, Aarhus/Aalborg, Denmark

Abstract

Moving to music is an essential human pleasure particularly related to musical groove. Structurally, music associated with groove is often characterised by rhythmic complexity in the form of syncopation, frequently observed in musical styles such as funk, hip-hop and electronic dance music. Structural complexity has been related to positive affect in music more broadly, but the function of syncopation in eliciting pleasure and body-movement in groove is unknown.

Here we report results from a web-based survey which investigated the relationship between syncopation and ratings of wanting to move and experienced pleasure. Participants heard funk drum-breaks with varying degrees of syncopation and audio entropy, and rated the extent to which the drum-breaks made them want to move and how much pleasure they experienced.

While entropy was found to be a poor predictor of wanting to move and pleasure, the results showed that medium degrees of syncopation elicited the most desire to move and the most pleasure, particularly for participants who enjoy dancing to music. Hence, there is an inverted U-shaped relationship between syncopation, body-movement and pleasure, and syncopation seems to be an important structural factor in embodied and affective responses to groove.

Copyright: © 2014 Witek et al. This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.

http://www.plosone.org/article/info%3Adoi%2F10.1371%2Fjournal.pone.0094446

From Van Gogh to Lady Gaga: Artist eccentricity increases perceived artistic skill and art appreciation

European Journal of Social Psychology
Volume 44, Issue 2, pages 93–103, March 2014
Issue published online: 4 MAR 2014
DOI: 10.1002/ejsp.1999

Wijnand Adriaan Pieter Van Tilburg [1], and Eric Raymond Igou [2]

1 School of Psychology, University of Southampton, Southampton, UK
2 Psychology, University of Limerick, Castletroy, Ireland

Abstract

We examined the impact of eccentricity on the evaluation of artistic skills and the quality of artworks. Based on the notion that artists are typically perceived as eccentric, creative and skilled, we tested the hypothesis that eccentricity increases perceptions of artistic quality. In Study 1, Van Gogh's Sunflowers painting was evaluated more positively when he was said to have cut off his left ear lobe than when this information was not presented. In Study 2, participants liked art more when the artist was eccentric. In Study 3, the evaluation of fictitious art increased because of the artist's eccentric appearance. Study 4 established that the eccentricity effect was specific to unconventional as opposed to conventional art. In Study 5, Lady Gaga's music was more appreciated when she was displayed as highly eccentric; however, the eccentricity effect emerged only when the display seemed authentic. These novel findings indicate that art evaluations are partly rooted in perceptions of artists' eccentricity and evidence the importance of perceived authenticity and skills for these attributions.

http://onlinelibrary.wiley.com/doi/10.1002/ejsp.1999/abstract

Venturi didgeridoo

United States Patent
Publication number US8466361 B1
Application number US 13/554,713
Publication date Jun 18, 2013

Charles Adams Eaton

Corrales, NM

Claims

The invention claimed is:

1. A musical instrument played by blowing air in a first end in the manner of an Australian Aboriginal Didgeridoo, the musical instrument comprising: a body comprising two or more un-tapered venture cylinder segments that can be nested or telescoped for portability; wherein each segment closer to a second end of the musical instrument, opposite the first end, has a diameter smaller than a diameter of any preceding segment closer to the first end.

2. The instrument of claim 1, further comprising: terminal sections of various lengths to provide different fundamental frequencies.

[...]

UTILIZATIONS

The “Walkabout Didgerido”

The 48″ Venturi-Didgeridoo, when made of fiberglass and resin, weighs only 9 ounces. If the rubber tip for a cane is inserted into the distal opening (FIG. 2) and a cap with a strap is put over the proximal opening (FIG. 3), it is converted into a walking stick—or “Walkabout Didgeridoo”. If the base of the cap is drilled and tapped, a properly threaded bolt will convert the “Walkabout Didgeridoo” into a monopod for camera stabilization (FIG. 3).

http://patft.uspto.gov/netacgi/nph-Parser?Sect2=PTO1&Sect2=HITOFF&p=1&u=/netahtml/PTO/search-bool.html&r=1&f=G&l=50&d=PALL&RefSrch=yes&Query=PN/8466361

Auditory stimulation of opera music induced prolongation of murine cardiac allograft survival and maintained generation of regulatory CD4+CD25+ cells

Journal of Cardiothoracic Surgery
March 23 2012, 7:26
doi:10.1186/1749-8090-7-26

Masateru Uchiyama [1,2,3], Xiangyuan Jin [2,4], Qi Zhang [2], Toshihito Hirai [5], Atsushi Amano [1], Hisashi Bashuda [3] and Masanori Niimi [2]   

[1] Department of Cardiovascular Surgery, Juntendo University Hospital, 2-1-1 Hongo, Bunkyo-ku, Tokyo 113-8421, Japan
[2] Department of Surgery, Teikyo University, 2-11-1 Kaga, Itabashi-ku, Tokyo 173-8605, Japan
[3] Department of Immunology, Juntendo University Hospital, 2-1-1 Hongo, Bunkyo-ku, Tokyo 113-8421, Japan
[4] Department of Cardiovascular and Thoracic Surgery, The 4th Affiliated Hospital of Harbin Medical University, 37 Yiyuan Street, Nangang District, Harbin, Heilongjiang Province, China
[5] Department of Urology, Tokyo Women's Medical University, 8-1 Kawata-cho, Shinjuku-ku, Tokyo 162-8666, Japan

BACKGROUND:

Interactions between the immune response and brain functions such as olfactory, auditory, and visual sensations are likely. This study investigated the effect of sounds on alloimmune responses in a murine model of cardiac allograft transplantation.

METHODS:

Naïve CBA mice (H2k) underwent transplantation of a C57BL/6 (B6, H2b) heart and were exposed to one of three types of music--opera (La Traviata), classical (Mozart), and New Age (Enya)--or one of six different single sound frequencies, for 7 days. Additionally, we prepared two groups of CBA recipients with tympanic membrane perforation exposed to opera for 7 days and CBA recipients exposed to opera for 7 days before transplantation (pre-treatment). An adoptive transfer study was performed to determine whether regulatory cells were generated in allograft recipients. Immunohistochemical, cell-proliferation, cytokine, and flow cytometry assessments were also performed.

RESULTS:

CBA recipients of a B6 cardiac graft that were exposed to opera music and Mozart had significantly prolonged allograft survival (median survival times [MSTs], 26.5 and 20 days, respectively), whereas those exposed to a single sound frequency (100, 500, 1000, 5000, 10,000, or 20,000 Hz) or Enya did not (MSTs, 7.5, 8, 9, 8, 7.5, 8.5 and 11 days, respectively). Untreated, CBA mice with tympanic membrane perforations and CBA recipients exposed to opera for 7 days before transplantation (pre-treatment) rejected B6 cardiac grafts acutely (MSTs, 7, 8 and 8 days, respectively). Adoptive transfer of whole splenocytes, CD4+ cells, or CD4+CD25+ cells from opera-exposed primary allograft recipients resulted in significantly prolonged allograft survival in naive secondary recipients (MSTs, 36, 68, and > 100 days, respectively). Proliferation of splenocytes, interleukin (IL)-2 and interferon (IFN)-γ production was suppressed in opera-exposed mice, and production of IL-4 and IL-10 from opera-exposed transplant recipients increased compared to that from splenocytes of untreated recipients. Flow cytometry studies showed an increased CD4+CD25+ Forkhead box P3 (Foxp3)+ cell population in splenocytes from those mice.

CONCLUSION:

Our findings indicate that exposure to opera music, such as La traviata, could affect such aspects of the peripheral immune response as generation of regulatory CD4+CD25+ cells and up-regulation of anti-inflammatory cytokines, resulting in prolonged allograft survival.

http://www.cardiothoracicsurgery.org/content/7/1/26

http://link.springer.com/article/10.1186%2F1749-8090-7-26/fulltext.html

http://www.ncbi.nlm.nih.gov/pmc/articles/PMC3338095/

Is 27 really a dangerous age for famous musicians? Retrospective cohort study

BMJ. 2011 Dec 20;343:d7799
doi: 10.1136/bmj.d7799
(Published 20 December 2011)

Martin Wolkewitz, statistician [1], Arthur Allignol, statistician [1], Nicholas Graves, health economist [2], and Adrian G Barnett, statistician [2]

[1] Freiburg Center of Data Analysis and Modelling, University of Freiburg and Institute of Medical Biometry and Medical Informatics, University Medical Center, Freiburg, Germany
[2] Institute of Health and Biomedical Innovation and School of Public Health, Queensland University of Technology, Brisbane, QLD 4059, Australia

OBJECTIVE:

To test the "27 club" hypothesis that famous musicians are at an increased risk of death at age 27. Design Cohort study using survival analysis with age as a time dependent exposure. Comparison was primarily made within musicians, and secondarily relative to the general UK population.

SETTING:

The popular music scene from a UK perspective.

PARTICIPANTS:

Musicians (solo artists and band members) who had a number one album in the UK between 1956 and 2007 (n = 1046 musicians, with 71 deaths, 7%).

MAIN OUTCOME MEASURES:

Risk of death by age of musician, accounting for time dependent study entry and the number of musicians at risk. Risk was estimated using a flexible spline which would allow a bump at age 27 to appear.

RESULTS:

We identified three deaths at age 27 amongst 522 musicians at risk, giving a rate of 0.57 deaths per 100 musician years. Similar death rates were observed at ages 25 (rate = 0.56) and 32 (0.54). There was no peak in risk around age 27, but the risk of death for famous musicians throughout their 20s and 30s was two to three times higher than the general UK population.

CONCLUSIONS:

The 27 club is unlikely to be a real phenomenon. Fame may increase the risk of death among musicians, but this risk is not limited to age 27.

http://www.bmj.com/content/343/bmj.d7799?view=long&pmid=22187325

Head and neck injury risks in heavy metal: head bangers stuck between rock and a hard bass

BMJ. 2008; 337: a2825
Published online Dec 17, 2008
doi:  10.1136/bmj.a2825

Declan Patton, research assistant
Andrew McIntosh, associate professor

School of Risk and Safety Sciences, University of New South Wales, Sydney, Australia 2052

Objective To investigate the risks of mild traumatic brain injury and neck injury associated with head banging, a popular dance form accompanying heavy metal music.

Design

Observational studies, focus group, and biomechanical analysis.

Participants

Head bangers.

Main outcome measures

Head Injury Criterion and Neck Injury Criterion were derived for head banging styles and both popular heavy metal songs and easy listening music controls.

Results

An average head banging song has a tempo of about 146 beats per minute, which is predicted to cause mild head injury when the range of motion is greater than 75°. At higher tempos and greater ranges of motion there is a risk of neck injury.

Conclusion

To minimise the risk of head and neck injury, head bangers should decrease their range of head and neck motion, head bang to slower tempo songs by replacing heavy metal with adult oriented rock, only head bang to every second beat, or use personal protective equipment.

http://www.bmj.com/content/337/bmj.a2825?view=long&pmid=19091761

Elvis to Eminem: quantifying the price of fame through early mortality of European and North American rock and pop stars

J Epidemiol Community Health
Oct 2007; 61(10): 896–901
doi:10.1136/jech.2007.059915

Mark A Bellis, Clare Lushey, Karen Hughes, Karen Tocque, John R Ashton
Centre for Public Health, Liverpool John Moores University, Castle House, North Street, Liverpool L3 2AY

Tom Hennell
Public Health Group, Government Office for the North West of England, Manchester, UK

Background

Rock and pop stars are frequently characterised as indulging in high‐risk behaviours, with high‐profile deaths amongst such musicians creating an impression of premature mortality. However, studies to date have not quantified differences between mortality experienced by such stars and general populations.

Objective

This study measures survival rates of famous musicians (n = 1064) from their point of fame and compares them to matched general populations in North America and Europe.

Design

We describe and utilise a novel actuarial survival methodology which allows quantification of excess post‐fame mortality in pop stars.

Participants

Individuals from North America and Europe performing on any album in the All‐Time Top 1000 albums from the music genres rock, punk, rap, R&B, electronica and new age.

Results

From 3 to 25 years post fame, both North American and European pop stars experience significantly higher mortality (more than 1.7 times) than demographically matched populations in the USA and UK, respectively. After 25 years of fame, relative mortality in European (but not North American) pop stars begins to return to population levels. Five‐year post‐fame survival rates suggest differential mortality between stars and general populations was greater in those reaching fame before 1980.

Conclusion

Pop stars can suffer high levels of stress in environments where alcohol and drugs are widely available, leading to health‐damaging risk behaviour. However, their behaviour can also influence would‐be stars and devoted fans. Collaborations between health and music industries should focus on improving both pop star health and their image as role models to wider populations.

http://www.ncbi.nlm.nih.gov/pmc/articles/PMC2652970/

The Effect of Country Music on Suicide

Social Forces
Vol. 71, No. 1 (Sep., 1992), pp. 211-218
Published by: Oxford University Press

Steven Stack, Wayne State University
Jim Gundlach, Auburn University

Abstract

This article assesses the link between country music and metropolitan suicide rates. Country music is hypothesized to nurture a suicidal mood through its concerns with problems common in the suicidal population, such as marital discord, alcohol abuse, and alienation from work. The results of a multiple regression analysis of 49 metropolitan areas show that the greater the airtime devoted to country music, the greater the white suicide rate. The effect is independent of divorce, southernness, poverty, and gun availability. The existence of a country music subculture is thought to reinforce the link between country music and suicide. Our model explains 51% of the variance in urban white suicide rates.

http://www.jstor.org/stable/2579974